Evangelos Achillopoulos

Dear Mr. Pytlak It?s my pleasure to chat with you about my problem. My referral to ?(Same Lab, using analogue LAD the brunette lady)? is going to your ?LAD for KODAK VISION Color Print Film? or ?LAD Control Film?. When we do DI and we film out the result, we want to have the best black level (density) in our positive 2383 without having to push the color timing in the printer side, because this will affect the white level. Someone will say that we have to grade in a way that when we going to the positive printer to increase the exposure in order to have more dense blacks. But this is wrong because then we going to loose all the highlights. Moreover DI process is not involving a natural exposed film instead the exposure is being done by the laser or the CRT of a film printer and it?s already using the maximum latitude of the negative. In a proof of that, if we measure the black and the white on the printed negative we get the D-Min and the D-Max of the negative so there is no room for ?As you increase negative exposure, you get a denser negative,?. I want to understand what the tolerances of the normal black print are in order to evaluate the quality of the LAB that am dealing with. In my personal opinion along with some other DP that they see the result they say positive Visual density below 3.4 can be evaluated as ?milky black? so I want to understand if your answer, that anything above 3 is good has an artistic tolerance influence. To clarify artistic means: A romantic film will need softer blacks than an action film. My definition of black is that when its projected inside the theatre should be like the lamp of the projector is OFF and no light is passing to the screen or the black on the middle of the screen must mach the black of the border of the screen as projected. More over a pre exposed 2383 test strip has a black visual density of 3.64 in that particular Lab and our negative print gives when printed in a positive 2383 gives 3.22. So what is the range of the black densities with no artistic tolerances? Shouldn?t has to much the test strip? Is their any white paper that deals with the tolerances? What is the experience of other forum members on that subject? Best regards,

Hello from Greece One simple question Step 1. We take a negative stock Kodak 5201 50D Vision 2 and in total darkness we cut a piece of few feet?s. Without any exposure we send it to a lab that is honoured with the Kodak Imagecare Logo (following Kodak standards using Kodak Kit chemicals). Step 2. We develop it. Step 3. We measure the densities with an X-Rite densitometer and we finding it around 0.23~0.25. Step 4. We are printing, from that negative, a positive in Kodak 2383 print stock according to the Kodak standards ECP-2D process (Same Lab, using analogue LAD the brunette lady) in 25, 25, 25 in printer lights. So we have a print with total Black? And the question is: What are the expected densities of the black in the 2383? (using the particular neg stock 5201) If someone from Kodak can give a straight answer with numbers it will be much helpful Regards to everyone from Greece

Hello form Greece As an alternative to S.2: Five years ago this product link 1 product link 2 machine was demonstrated at IBC, but was 9/14/2001 so was passed unnoticed. I now the guy that build it. We are thinking to ask him to redesign it for us for use it with the new breed of cameras (RED, SI, Viper etc) in a combination with the technology of product link 3 but with AVID or FCP. We think to use it with our Varicam. What do you thing about this ideas in HD 444 10bit Uncompressed and 6Tbytes Raid5 in a system so durable that you can also use it as a canoe? I have seen a video while they put the whole machine in to the sea and a guy get above it while the machine is floating!!! (It?s the MIL spec flight case that they use?) Thanks in advance for the feedback ;)

Hello to everyone I understand that the 4k images have more refined grain capture than 2k but more resolution? is something that we have to be careful. If the captured 2k image being seeing on the article that Mr. Mullen points, was upres with Photoshop, none will find the aliasing problem that is being seeing on the lamp image. And moreover on the other images I can notice ?sharpening edge artefacts?. So I?m not convinced that more scanning resolution will provide more resolution from film since there are a lot of limiting factors (High speed film more grain etc.). I think the best is to scan in 4k but immediately down res to 2k in order to work, this will give a quad over sampling of the image and it will render better noise reduction approximately 3 - 5dB less noise. But not more resolution, this is what I see in the images I have seen in the article and in the websites of Cintel and others. As for the DI process, yes this is a major step forward for the art of cinematography. Regards, from the sunny Athens, to everyone from a new guy to this forum